Transfert
2019 · 13m · Francia
Directed by Jonathan Degrelle
Tones: contemplative, dark, tense
1967: Germany has won the Second World War and dominates the world. Max, a Nazi officer in search of redemption, sends Isaac, a concentration-camp prisoner, to the past to retrieve the revolutionary mechanism that changed the war's course. But back in the midst of World War II, Isaac must face a mysterious, ruthless Nazi agent who also seeks the mechanism.
Picked by Margot
The scouts
Nazi redemption-through-time-travel is exactly the kind of premise that sounds like a Reddit fever dream, and somehow Degrelle commits to it with enough genre discipline that it almost works—almost being the operative word, because the subversion here is too restrained for its own good.
Degrelle constructs a formally rigorous paradox-thriller that situates itself deliberately within the sci-fi lineage of Tarkovsky and the German New Cinema, using the mechanism as both McGuffin and philosophical anchor; the editing refuses cheap thrills in favor of sustained temporal dread.
The film's entire architecture hinges on the choice to make Isaac's back-in-time arrival silent and disorienting—no exposition dump, just sound design and framing that forces you to understand the stakes through *being* lost, which transforms a B-movie concept into something genuinely unsettling on a shoestring.